Formerly known as slaterlovesspam

Please don't take this the wrong way, but this was something that's already been discussed today. Please comb through so we're not repeating the same notes across multiple pages.

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Not just today, but every day for weeks.

The search is very easy to use. You can set it to it just searches this specific thread, and by a date range (I would do since June 1st). That way, it allows you to zero in on super specific information in minimal time.

As far as tips, it’s different for everyone. Most of us have to try different tips and find which fits and/or sounds the best. What is perfect for me could be the total opposite for the next 5 people.

500+ Head-Fier

T2 is not the best for basshead levels. It’s like trying to tow a boat with a Corvette - you could do it because it has the power, but a truck is really w
the best too. Plus the putty creates new problems.

So if you don’t want to wait to see what Tin Audio comes up with, there are other IEMs that are basshead level ready-to-go right out of the box.

Here’s a few I’ve heard, in no particular order:

Boarseman KR49
i-Into i8
ZhiYin Z5000
Tiandirenhe TD08
KZ ED15

The fit of the i8 sucked for me, but my basshead coworker likes them. The Z5000 and TD08 have MMCX removable cables. My favorites out of those are the ED15 and the Boarseman.

Others may chime in with some input. I know @loomisjohnson has heard the Boarseman, and @B9Scrambler has a few of these (pretty sure he’s a closet basshead like me lol)

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Wait wait wait, i already tried basshead headphones.
The problem is that they all share the same horrible thing --> recessed mids
I know i can't have JH Layla sound at 30 euros, but i just need a good headphone that does well in the mids with a good soundstage and can dig down into the sub-bass and bass.
As far as i understood, t2 is not able to do that without creating other problems or ruining some other frequencies, so i think i'm gonna ask @B9Scrambler how does it feel with the zsa and how could he compare in edm tracks with the tin audio t2 (i know b9scrambler has a website where he reviews the headphones and i even saw he reviewed both the t2 and zsa).

So @B9Scrambler how would you compare the tin audio t2 with the zsa?
What would u tip me as far as you tried both of them?
For now, i'm trusting slater for his huge experience, but another direct opinion is welcome if u wanna help me!

Not an audiophile, just music lover | Quite every sub-EDM-genre, Rap, Soft Rock/Mainstream Rock, Trap
Check out the website i started with some friends:http://www.audio-monkeys.com
Reviews and product opinions about what we try.
My gear is on my profile.

Formerly known as slaterlovesspam

Wait wait wait, i already tried basshead headphones.
The problem is that they all share the same horrible thing --> recessed mids
I know i can't have JH Layla sound at 30 euros, but i just need a good headphone that does well in the mids with a good soundstage and can dig down into the sub-bass and bass.
As far as i understood, t2 is not able to do that without creating other problems or ruining some other frequencies, so i think i'm gonna ask @B9Scrambler how does it feel with the zsa and how could he compare in edm tracks with the tin audio t2 (i know b9scrambler has a website where he reviews the headphones and i even saw he reviewed both the t2 and zsa).

So @B9Scrambler how would you compare the tin audio t2 with the zsa?
What would u tip me as far as you tried both of them?
For now, i'm trusting slater for his huge experience, but another direct opinion is welcome if u wanna help me!

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I see.

Which one of these sounds like what you're shooting for:

1. Neutral/flat tuning, but with sub bass that has deep extension. I.e. no sub bass roll off.
2. A basshead tune (dominant sub-bass/bass), but with forward mids. Like W shaped.
3. A basshead tune (dominant sub-bass/bass), but with mids and treble flat (ie no recessed mids)? Like L shaped.

Formerly known as slaterlovesspam

And while on this U vs V topic, I have been meaning to clarify this for a while.

It dawned on me the other day that what I have always thought of as the different between V and U may not be what others view it as.

@Otto Motor brought up this a while ago, about the ambiguity of describing tuning with letters and how the Germans don't do it (they use the concept of bathtub instead of U I think).

Anyways, here's 2 very crappily drawn versions of how the relationship between V and U could be interpreted. I say crappy because I didn't draw the shape of the letters right (ie the frequency range extension of the U in #1 is narrower and I didn't mean to do that). Just ignore that for a minute.

#1 the U is basically INSIDE of the V (ie the curve at the bottom of the letter). In this version, theoretically the V has more frequencies "scooped out" and missing vs the U. The U would have LESS recessed midrange, and a little more upper bass through lower treble frequencies "filled in". In this example you could say that the U is "closer to neutral" when compared to V.

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#2 is the opposite - the V is INSIDE of the U. In this version, the U has more frequencies "scooped out" and missing vs the V. So it is the V shape that would have more upper bass through lower treble frequencies "filled in". In this example you could say that the V is "closer to neutral" when compared to U.

Head-Fier

If you look at the reviews at "the phonograph" the ZS10 have a better rating in sound (bass,mids & highs).
But there is still the question how will they fit in your ears? If you have smaller ears pick the ED16 otherwise the ZS10.
Maybe you can order both and sell one of them.

100+ Head-Fier

And while on this U vs V topic, I have been meaning to clarify this for a while.

It dawned on me the other day that what I have always thought of as the different between V and U may not be what others view it as.

@Otto Motor brought up this a while ago, about the ambiguity of describing tuning with letters and how the Germans don't do it (they use the concept of bathtub instead of U I think).

Anyways, here's 2 very crappily drawn versions of how the relationship between V and U could be interpreted. I say crappy because I didn't draw the shape of the letters right (ie the frequency range extension of the U in #1 is narrower and I didn't mean to do that). Just ignore that for a minute.

#1 the U is basically INSIDE of the V (ie the curve at the bottom of the letter). In this version, theoretically the V has more frequencies "scooped out" and missing vs the U. The U would have LESS recessed midrange, and a little more upper bass through lower treble frequencies "filled in". In this example you could say that the U is "closer to neutral" when compared to V.

​

#2 is the opposite - the V is INSIDE of the U. In this version, the U has more frequencies "scooped out" and missing vs the V. So it is the V shape that would have more upper bass through lower treble frequencies "filled in". In this example you could say that the V is "closer to neutral" when compared to U.

​

So when you think of U or V shaped, which one do you think of?

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To me U shaped is something similar to a little recession in the mids but with a very low Q factor, while V shaped is a stronger recession with a higher Q factor.

And while on this U vs V topic, I have been meaning to clarify this for a while.

It dawned on me the other day that what I have always thought of as the different between V and U may not be what others view it as.

@Otto Motor brought up this a while ago, about the ambiguity of describing tuning with letters and how the Germans don't do it (they use the concept of bathtub instead of U I think).

Anyways, here's 2 very crappily drawn versions of how the relationship between V and U could be interpreted. I say crappy because I didn't draw the shape of the letters right (ie the frequency range extension of the U in #1 is narrower and I didn't mean to do that). Just ignore that for a minute.

#1 the U is basically INSIDE of the V (ie the curve at the bottom of the letter). In this version, theoretically the V has more frequencies "scooped out" and missing vs the U. The U would have LESS recessed midrange, and a little more upper bass through lower treble frequencies "filled in". In this example you could say that the U is "closer to neutral" when compared to V.

​

#2 is the opposite - the V is INSIDE of the U. In this version, the U has more frequencies "scooped out" and missing vs the V. So it is the V shape that would have more upper bass through lower treble frequencies "filled in". In this example you could say that the V is "closer to neutral" when compared to U.

Headphoneus Supremus

Phonograph boost everything and test whether it distorts or not. They never tell about what it sound.

Its good as we can get to know the limits, but ED16 is way better in signature and tuning perspective and has a small blueprint compared to ZS10.

ZS10 is technically awesome but tuning is where I feel pity. ZS10 is nasal and upfront with trumpets and cymbal snare is soft yet metalic. Vocals are recessed(yet defined) and bass is strong creating weird stage and incoherency over spectrum. Not like some crappy iem, but still noticeable.